Death Note - L: Change the WorLd

2008

Crime / Drama

5
IMDb Rating 6.2

Synopsis


Downloaded 5216 times
4/21/2017 7:31:03 AM

1080p 720p
2.45G
1920x1040
Normal
Japanese
23.976 (23976/1000) FPS /
129 min
P/S 0 / 1
1.55G
1280x694
Normal
Japanese
23.976 (23976/1000) FPS /
129 min
P/S 2 / 1

Movie Reviews

Reviewed by Simon Booth 4/10

I&#39;m sure everyone agrees that L was by far the more interestingcharacter in the Death Note movies, thanks to a charmingly weirdgeek-cool performance from Kenichi Matsuyama, possibly channellingJohnny Depp. As such you can&#39;t blame the producers for giving him hisown spin-off/sequel... only for making it so bad.<br><br>The problem, in a nutshell, is that the writers have missed the pointon practically everything that made the Death Note films interesting.The intriguing mystical lore about the Death Notes and their keepers isall forgotten about, which is probably better than trying to contrivesome re-entrance for them - except that it&#39;s replaced by a feeblepseudo-science deadly virus tale that even the cheesiest ofdirect-to-video American films would be ashamed of. The high level mindgames that drove the plot of DN are almost entirely gone - L&#39;sopponents are a dim-witted bunch, and in their place is a countdown todestruction and an entirely unforgivable attempt at an action-packedfinale. Ugh.<br><br>Worst of all, they decided that what L really needed was humanising -to whit, a back-story that reveals him to be part of an alphabeticallycodenamed secret organisation fighting crime under the stewardship ofWatari, and a plot that leaves him taking care of two young childrenfor most of the film. Matsuyama tries his best, and his presentation ofL still manages to be simultaneously super-cool and super-cute, butthere&#39;s only so much he can do with the ill-conceived storyline andjuvenile scripting. There are some moments that do work, but they arein a minority. Worth seeing if you enjoyed the Death Note films, justto tie things up, but set your expectations for it several notchesdown.

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Reviewed by kojisuzuki 8/10

L: Change the World is a spin-off from the Death Note movies, not themangas. The mangas/anime are better than all the films. Death Note:Part 1 is a better film than L, but I enjoy the last the most. DeathNote: Part 2 is all-over the place though.<br><br>Hideo Nakata was able to craft an intense and heart-pounding thriller,and Matsuyama Kenichi is just simply amazing as the almost heartless L,but we see more of him as a &quot;human&quot;.<br><br>Basically, L: Change the World chronicles the last days of L, similarto what Passion of the Christ did to Jesus. Other than the amazingKenichi, the young boy F is adorable and we see him become Near - whowe never see - in the near future; hence the toy robot.<br><br>Overall, L: Change the World is a worthy spin-off to the shaky filmsand superior mangas/anime. Highly recommended!

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Reviewed by max williams 2/10

Living up to the excellence of Shusuke Kaneko&#39;s Death Note films wasalways going to be a daunting task. The makers of this film respondedto this challenge by avoiding it.<br><br>The film&#39;s prominent ties to its predecessors, most notably theinclusion of several characters and events from them, are entirelysuperficial, and I was left with the distinct impression that Nakata&#39;sprimary desire was to make a bioterrorism thriller, with the Death Notemovies and the character of L serving merely as convenientspringboards.<br><br>After going to the trouble of hiring several actors to reprise theirroles, (Such as Erika Toda as Misa, Asaka Seto as Naomi Misora, andShunji Fujimura) their characters are criminally underused. This is notjust lazy, it is cruel. It&#39;s the equivalent of dangling food in frontof a starving dog only to pull it away after only letting them lick it.Even the unperceptive viewer can tell these are blatant attempts tofake a connection which is essentially nonexistent.<br><br>The sheer magnitude of neglected opportunities to capitalise on thewealth of plot and character established by the Death Note films isstaggering. A event as stupendous as Kira&#39;s reign of death would have alasting effect on society; the Death Note films show the beginnings ofthis, with people divided over whether his actions were right, and manysupporting him to a religious degree. Yet in L: Change the WorLd, itsalmost as if none of it had ever happened. Life goes on as usual, withscarcely a mention of the monumental upheaval the world has justundergone. This also could&#39;ve provided many interesting possibilities,such as the Kira cult becoming involved in the plot, or characters suchas Misa and Ryuk playing new roles and continuing to develop.Apparently, Nakata couldn&#39;t care less.<br><br>What&#39;s more, he can&#39;t resist falling back on his roots as a horrordirector, and is determined to scare the audience with the victims ofthe virus. Unfortunately, the result is corniness rather thanadrenaline. The rest if the time, he&#39;s either plodding through thedrama on autopilot, or inserting light comedy in a haphazard manner.<br><br>The writing isn&#39;t much better. The script is brimming with triteclich&eacute;s, yet is oblivious to this and makes no effort to put a freshspin on them. It has some admirable aspirations, namely its attempts toexplore L&#39;s human side, and capture the topical issues of terrorism andthe Bird Flu/SARS scares in the same way that its prequels addressedjustice and the death penalty, but in execution it fails. Overall, itlargely plays like amateur fanfiction, overusing the surface strengthsof the originals (namely L&#39;s eccentricity) while losing its deeperstrengths. Interesting ideas are left to rot on a compost heap ofgeneric characters, messy plotting, and lame attempts to emulate theexcesses of the typical Hollywood action movie.<br><br>To his immense credit, Kenichi Matsuyama lifts L above this malaise andsqueezes a river of blood from the stony script in his typically wittyand charismatic performance. Once again, he embodies the character downto his finest mannerisms, and makes like he just crept off the set ofThe Last Name. True, his English skills are modest, but this isactually believable; I met many Japanese people who spoke in this wayduring my time in Japan.<br><br>Sadly, however, much the use of English throughout the film isreminiscent of the Heisei Godzilla series in its grating inanity. Also,the Japanese performances outside of Matsuyama range from decent,(Fukuda Mayuko as Maki) to downright cheesy. (Most of the villains)Even Erika Toda as Misa had none of the spark Kaneko drew out of her inthe prequels during her brief cameo.<br><br>Even Death Note veteran Kenji Kawai&#39;s score, while certainly not bad,is a far cry from his work on the previous films, though largelybecause he&#39;s mostly forcibly limited to low key background music andthe long periods of sluggish silence Nakata so adores. He finally findsa chance to shine towards the end, where he provides two impressivepieces; an epic cue that accompanies L&#39;s arrival at the climax, and amelancholy piece that fits the fittingly touching conclusion nicely.<br><br>Cinematography is also a step down, losing the smooth, rich clarity ofthe Death Note movies for a dry and altogether bland visual style.<br><br>Thankfully it&#39;s not all doom and gloom; there&#39;s some good apples amongthe piles of rotten ones. As mentioned previously, the ending issuitably poignant, though the tears it almost brought to my eyes aredue primarily to my love of and familiarity with the character. I alsolaughed aloud at several of L&#39;s displays of quirkiness, and flushedwith joy at the rare but delicious moments of Death-Note-style&quot;intellectual pwnage.&quot; The opening title sequence is slick and classy,capturing the feel of its predecessors wonderfully.<br><br>The FX are strong for a Japanese film, and are actually slightly moreadvanced than those of the first two films. The destruction of theinfected village is vivid and impressive, and the practical effects forvirus&#39;s symptoms are mostly well done. Ryuk&#39;s execution via CGI duringhis brief appearance is about on par with his previous incarnations.<br><br>But you know something&#39;s wrong when your counting the good momentsrather than the bad ones.<br><br>In the end, the film&#39;s highlights are like sweet chocolate chips in abitter and mouldy cookie. It succeeds as fanservice and as coldcommercial calculation, but fails as art, entertainment, orstorytelling. It&#39;s an awful shame, because with the ingredients left byits marvellous predecessors, it could have been truly great.

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